This prelude is composed in polyphonic style.
Passages in three-part texture alternate with phrases in two-part
texture where the middle voice keeps extended silences. Within each
section, part-writing is kept very consistent.

Most of the techniques characteristic of Baroque
polyphonic style are used: (strict or free) imitation, (full and
partial) sequences of motives and contrapuntal models, inversion of
shape, and inversion (exchange) of voices.

The structural design is in two repeated halves, the
second of which is considerably longer. The time signature is
twelve-sixteenth, a compound meter reminiscent of the gigue.
The uninterrupted flow of sixteenth-note and frequent "gigue-rhythm
patterns" (eighth-note + sixteenth-note, see e.g. in the first halves
of bars 2, 3 and 4 respectively) enhance the impression that this
prelude is composed along the lines of the Baroque dance which
traditionally closed a suite.

II/21.1.2 The overall design of the prelude

The first harmonic progression concludes on the
downbeat of bar 3 where the tonic is confirmed in a perfect cadence.
This cadence should not be considered as structurally relevant, both
because it marks the ending of the very first three-part combination of
the main motive, and because the tied notes in the upper and lower
parts essentially weaken the conclusion on the downbeat.

Harmonic closes which coincide with structural
caesuras occur on the downbeat of bar 17, where the subdominant key Eb major is established, and in bar 32
which confirms the dominant key F major; these two perfect cadences
thus divide the first half of the prelude into two segments of almost
identical length.

An analysis of the material presented in this prelude
reveals several smaller sections which are utterly important for a
correct structural assessment of the piece in spite of not being
harmonically concluded. It is therefore advisable to describe the
design of this prelude on the basis of combined observations of
harmonic processes and material presentation.

There are twelve (four + eight) sections in this
prelude:

I

bars 1- 8end

Bb major to F major
(imperfect cadence)

II

bars 9-17d

F major to Ebmajor (perfect cadence, subdominant)

III

bars 17-28d

Ebmajor to F major (imperfect cadence)

IV

bars 28-32

F major (perfect cadence, dominant)

V

bars 33-41d

F major to F minor (perfect cadence)

VI

bars 41-48end

to G minor (perfect cadence, relative minor
key)

VII

bars 49-52end

Bbmajor
to Bbmajor
(imperfect cadence)

VIII

bars 53-56end

to C minor (perfect cadence, relative of
subdominant)

IX

bars 57-64end

C minor to Bbmajor (imperfect cadence)

X

bars 65-76d

modulating to F major7

XI

bars 76-83d

remaining rooted in F major7

XII

bars 83-87

returning to Bb
major (tonic)

Several structural correspondences can
be detected:

bars 8end-12

recur in

bars 52end-56

transposed

bars 13-17d

recur in

bars 37-41d

transposed, varied

bars 28-32

recur in

bars 83-87

transposed

Another feature of supreme importance for a quick
structural overview is found in the sequential patterns. These appear
in such great numbers here that it is worth listing them. The following
table includes

(a)

sequences that involve all voices

(b)

sequences of the leading voice
with free contrapuntal work in the other voice(s)

(c)

sequences involving an inversion of voices

model

sequence

model

sequence

bars 9/10

bars 10-12

bars 33/34

bars 35/36

bars 13/14

bar 15/16

bars 37/38

bars 39/40

bar 19

bar 20

bar 41

bar 42

bar 22d-22m

bars 22m-23d, 23d-23m

bars 45m-46m

bars 46m-47m

bar 23m-24d

bars 24d-24m, 24m-25d

bar 57

bars 58, 59, 60

bar 25

bar 26

bar 62

bar 63

bars 65/66

bars 67/68

bar 70

bar 71

bar 72

bar 73

bars 76m-78m

bars 78m-80m

II/21.1.3 Practical considerations for performers

The basic character of this prelude is rather
lively. This character is revealed above all in the rhythmic
pattern which is very simple and, as was already mentioned, contains
the typical features of a gigue. The tempo should be chosen
accordingly; it should be fast enough to depict the jerkiness of the
gregarious dance, but not so rushed as to render the intricate patterns
of imitations as a simple technical show.

The prelude contains several kinds of ornaments. As
the two compound symbols in bars 7 and 26 indicate, Bach expects four
trill notes against each of the sixteenth-note - a good measure for the
limit of maximum speed (see ex. 204 below). Besides these, three simple
ornaments occur. Two of them are mordents; the one in bar 2 begins on
the upper auxiliary and contains four notes, while the one in bar 8 is
approached stepwise and therefore commences on the main note,
encompassing only a single three-note shake (ex. 32):

The inverted mordent poses no problem with regard to
its pitch since it is immediately preceded by D which also serves as
its lower neighbor note. The fact that this ornament appears in
brackets points to its origin not from Bach's manuscript but from a
copy. While it is thus left to the performer to include or disregard
the ornament, adopting it is, in fact, a very good idea as it can be of
great help for the listener in distinguishing the manifold versions of
the main motive, all of which begin with scale portions and are thus
difficult to discern. If the inverted mordent is incorporated in bar 1,
then a similar ornament should be transferred to all bars which contain
the version of the motive in which the sixteenth-note scale segment is
complemented by three dotted eighth-notes in reverse motion. Such
transferal is then advisable for bar 3 (L), bar 5 (U), bar 8 (L), bar
49 (U), possibly bar 52 (U, i.e. on A), bar 65 (U), and bar 67 (U).
What remains for the performer to decide is whether an inverted mordent
is preferable in all cases or whether the inverted shape of the motive
(see e.g. L: bars 3/4) might not be more convincing if the ornament is
also inverted (an "inverted" inverted mordent being, of course, a
simple mordent).

II/21.1.4 What is happening in this prelude

The thematic material of this prelude is determined
by four motives.

M1

comes in numerous guises; what they all have in
common is the beginning after a strong beat and the scale section in
sixteenth-note which leads to the next strong beat. Five versions
appear regularly. M1a is introduced in the upper voice (see bars 1-2d). It
extends over a full bar and complements a scalar descent with an ascent
in dotted eighth-notes which may be distinguished by an ornament (see
the paragraph above).M1b, presented as the immediate imitation in the middle
voice, contains only the scale in straight motion, whereas M1c,
the next imitation (see lower voice: bar 2) features the scalar motion
ending in an interval - perfect fifth or fourth - in the opposite
direction.
In M1d (see e.g. bars 19, 22), the final strong beat repeats
(or retains) the previous pitch, and in M1e (see e.g. U: bars
30/31, L: bars 31/32), the sixteenth-note motion is extended to form a
one-bar curve.
With regard to texture, M1 is a polyphonic component which
wanders through all voices, is regularly inverted and set in a
continually varying contrapuntal environment.The dynamic shape of M1 is determined by
the common feature, the initial scale. Its metrical position as an
extended upbeat clearly indicates an increase in tension; in the case
of a complement (as in M1a) or an extension (as in M1e),
this increase is followed by a decrease and thus forms a complete curve.

M2

is first heard in bars 9/10. It consists of two
contrapuntally dependent parts. M2a commences in the lower
voice with the two final sixteenth-note of bar 8 and ends with a tied
note F two bars later. Its characteristic feature is an ornamented
descent (see the strong beats Bb-A-G-F,
the first three with written-out inverted mordents). The weak beats
in-between are filled by broken chords which, since they are all rooted
in a kind of pedal note (C), are gradually narrowed down until they
form a scale (see bar 10). M2b in the upper voice complements
the lower part with a harmonically adjusted imitation; the ornamented
descent Bb-A-G-F falls here on the
metrically weak positions. M2 is repeated in inverted voices
immediately afterwards (see bars 10end-12); here the upper voice is
leading.
Pitch pattern, length and texture of M2 are thus as different
as could be from those in M1. The dynamic shape follows the
line formed by the peak notes with their written-out ornaments and thus
describes a two-bar diminuendo triggered by a
two-sixteenth-note upbeat.

M3

consists of a one-bar model which is sequenced
three times (see bars 13, 14, 15, 16). The texture is reminiscent of
toccata-style. The right-hand pattern can be described as hidden
two-part structure (see e.g. bar 13: the melodic descent D-A-G-G
before the harmonic "background" of the broken G-minor chord), and the
left-hand part accompanies with another two-part pattern, consisting of
cadential notes in the bass register interspersed with fourth jumps in
the high register. The visual representation of the score seems to
indicate imitation after two bars, but this impression is deceptive: no
change of voice occurs - the reorganization is one of technique only.
(Taken literally, this means that the "upper voice" moves to the bass
register and stays there until bar 39! It may be best to assume that
consistent part-writing is suspended here.)
The development of tension in this motive follows the four-bar descent
in the sequential pattern with a long diminuendo.

M4

is a small motive which first occurs towards
the end of the first half, in U: bars 28/29. It consists of a repeated
pedal note ornamented by inverted mordents (see the threefold C-B-C),
alternating with three-note ascents in rising succession (D-Eb-F,
Eb-F-G, F-G-Ab). In its scope of six sixteenth-note and its one-track
design, M4 recalls M1. It does not, however, take part
in polyphonic development as it is never imitated but restricted to the
upper voice. The dynamic shape of this motive corresponds with the
direction of its ascending note groups and thus represents a crescendo.

M5

is restricted to the middle of the prelude's
second half. Introduced in U: bar 58, with sequence in M, it appears
like a compound ornament preceding a strong beat. Correspondingly, its
dynamic shape is a slight increase.

The design of the prelude in Bbmajor can be traced very convincingly from the
occurrence and interplay of these five motives. For the sake of
clarity, the table below does not specify inversions of motives and
eventual irregularities. (An asterisk designates inversion of voices,
an apostrophe marks occasional modifications of a motive. For details
of sequences, refer back to the beginning of this chapter.)

bars

motives

bars

motives

1-3d

M1a, M1b, M1c

---

49-52d

M1a, M1b, M1b, M1b

3-5d

M1a, M1b, M1c

---

52-53d

M1a, M1c

5-7m

M1a, M1b, M1b

7m-8

M1a, M1bvar

9/10

M2

---

53/54

M2

11/12

M2*

---

55/56

M2*

13-16

M3

17/18

M1b, M1b, M1b, M1b

19/20

M1d, M1c, M1d, M1c

---

57-58d

M1d, M1c

21-22m

M1b, M1b, M1b

58-64m

M5, M1dev

22-23m

M1d, M1c, M1d, M1c

23m-28d

M1dev

64m-67d

M1a, M1a, M1b, M1b',
M1b'

67-70d

M1a, M1b, M1b', M1b',
M1b

71-76m

M1b'dev

76m-83d

M1dev

28-30d

M4, M1b

---

83-85d

M4, M1b

30-32

M1e, M1e, close

---

85-87

M1e, M1e, close

bars 33/34

M4 in indirect parallels

bars 35/36

M4 in indirect parallels

bars 37-40

M3

bars 41-48

M1dev

The design of this "prelude in the character of a gigue"
thus reveals itself as a remote relative of sonata form. This becomes
particularly obvious when one combines structural observations derived
from the distribution of the motives with those based on the main
harmonic steps in the piece.

bars

motives

harmonic basis

exposition section I

1-16

M1, M2, M3

tonic - subdominant

exposition section II

17-32

M1dev, M4

dominant

development section

33-48

M4dev, M3,
M1dev

modulating

recapitulation section I

49-64

M1, M2, M5

rooted in tonic

recapitulation section II

65-74/83-87

M1dev, M4

rooted in tonic

insertion

74-82

modulating

(in lieu of coda)

WTC II/21 in Bb major -- Fugue

II/21.2.1 The subject

Commencing after a eighth-note rest and concluding
on the downbeat of bar 5, this subject is exactly four bars long. The
beginning is particularly noteworthy because the first note does not
form part of the tonic chord. (Among the forty-eight fugues of the
Well-Tempered Clavier, there are only two which set off from a note
outside the home-key chord: The fugue in F# major (volume II) commences on the leading note, thus
approaching the key note from below, while this fugue in Bb major begins on the second step,
preceding the tonic from above.)

Phrasing within this subject is perfectly regular.
One can detect four segments, each of one-bar length. They are grouped
in the pattern of model/sequence, model/sequence, with the
effect that, despite a lack of outstanding rhythmic or melodic
features, the subject is not difficult for a listener to remember.

The rhythmic pattern within the subject consists
exclusively of eighth-notes. Throughout the fugue, these are joined by
quarter-notes and occasional longer note values, but the overall effect
remains one of simplicity.

An analysis of the pitch pattern reveals that the first
subphrase and its varied sequence are based on broken chord patterns
(see e.g. Bb-F-D in bars 1/2, with Bb
ornamented by a written-out turn). The third subphrase and its
sequence, on the other hand, are composed as three-note descents linked
by anticipations on the preceding weak eighth-notes. This observation
is particularly interesting as it reveals an underlying structural
rhythm behind the obvious uniformity of eighth-notes; to bring this out
might be a special challenge for the performer (ex. 33):

The harmonic design of the subject
is also simple; although slight differences occur in the course of the
piece, the outline consists mainly of

tonic

subdominant

dominant-six-four /

dominant-seven

tonic

bars

1/2

32-4d

42

43

5d

The dynamic outline follows the dance-like design: the
first two subphrases increase slightly, while the next two provide the
corresponding relaxation.

II/21.2.2 The statements of the subject

The Bb major fugue encompasses ten entries of the subject.

1.

bars 1- 5d

M

6.

bars 40-44d

U

2.

bars 5- 9d

U

7.

bars 47-51d

L

3.

bars 13-17d

L

8.

bars 54-58d

M

4.

bars 21-25d

L

9.

bars 63-67d

U

5.

bars 32-36d

M

10.

bars 78-82d

U

(ex. 34)

Apart from an interval adjustment in the answer (which
occurs only once in the piece; see bar 5 beat 3), the subject remains
unchanged and uninverted. Only the final statement contains harmonic
variation in that it commences and closes in F major (see bars 78/79
and 81/82) but touches the minor mode (see the Ab) in-between.

II/21.2.3 The counter-subjects

There are several companions to the subject.
In the course of the second to fourth entry one can recognize, albeit
behind strong variation, two recurring patterns; two others substitute
them from the fifth subject statement onward. The first two, as will be
seen, do not meet the requirements or true counter-subjects, i.e. to be
melodically characteristic and independent from the subject. Their
consistent recurrence, however, requires them to be mentioned, and they
will therefore be referred to in small letters, as a reminder of the
reservations.

cs1

consists, in its most basic form,
of nothing but a protracted keynote / leading-note / keynote formula.
As such it appears in M: bars 14-17d and, with a diverted resolution,
in U: bars 22-25. In connection with the first accompanied subject
statement in bars 5-9d, the same formula is very much concealed in a
variation: the middle voice contains the note F first in bar 6 (second
eighth-note) as the beginning of a parallel to the subject's second
subphrase. The same F is regained in bar 7, beat 3 where its
tie-prolongation recalls the simpler shape of the formula. E, the leading-note to F, appears ornamented with a
written-out inverted mordent (see bar 8) before it resolves timely into
F.Although one can state that this element recurs with
regularity, it is so obviously a simple closing formula that it cannot
be recognized as a true counter-subject, last but not least because it
does nothing to "counter" the subject but only supports it. A similar
restriction applies to the dynamic shape: while a closing formula
traditionally expresses a single gesture of relaxation, effective
shaping is not possible owing to the very long note value at the
beginning of the formula.

cs2

is introduced in bars U: 14-17d. The first
four and the last six eighth-notes form parallels in compound sixths to
the subject's second and fourth subphrases respectively, and the
subject's third subphrase is doubled in compound thirds. No
contrapuntal independence whatever can thus be attributed to this
companion. Nevertheless, the same figure recurs in M: bars 22-25d.
Interestingly, its first bar alone is also heard in U: bars 54/55 and
M: bars 63/64.

CS3

is first encountered in U: bars 33-36. Consisting
of three sequential ascents which, by their tied notes, conscientiously
seem to avoid the phrase-cuts in the subject, this companion is
phonically independent. Its dynamic equivalent is a protracted increase
of tension until the final tie (see e.g. bar 35, beat 3), followed by a
relaxation which is either explicit (see bar 36: G-F) or implicit (see
e.g. bar 44).CS3 recurs faithfully in every further subject statement,
although with several modifications including abridgement at the
beginning, belated resolution, and transposition a fifth lower.

CS4

is paired with CS3. Introduced in L: bars
33-36, it moves in half-notes and dotted half-notes which sound like a
spaced-out cadential-bass pattern. A dynamic representation would
therefore have to consider the inherent tension between harmonic steps
and place the climax on the subdominant note (see e.g. the Bbin bar 34) - with
the effect that the climax of this counter-subject coincides with that
of the subject.
Occasionally shortened like CS3, this counter-subject also
recurs in each of the remaining entries. Interestingly, the cadential
pattern not only wanders through all three voices but also changes its
pitch position with reference to the subject: while in bars 33-36 it
confirms the F major key of the subject statement with a pattern in F
major, it ends rooted in D in entries of quite different harmonic
definition, like those in bars 40-44 (Bb
major) and 47-51 (G minor).

As the analysis reveals, this Bbmajor fugue
resembles its counterpart in the first volume of Bach's Well-Tempered
Clavier, in that it features very faithful counter-subjects with,
however, a stunning lack of melodic eloquence.

The sketch shows the subject in its manifold
quasi-polyphonic surroundings. Although the two groups of
counter-subjects never occur simultaneously as presented here, it is
interesting to view them as parts of a single, almost homophonically
designed pattern. Dynamic independence is only gained by CS3
and - theoretically though not perceptibly - by cs1 (ex. 35):

II/21.2.4 The episodes

This fugue encompasses subject-free passages
following each but the first entry.

E1

bars 9-13d

E6

bars 51-54d

E2

bars 17-21d

E7

bars 58-63d

E3

bars 25-32d

E8

bars 67-78d

E4

bars 36-40d

E9

bars 82-93

E5

bars 44-47d

Taking into consideration the material exposed in
these episodes as well as the harmonic closes incorporated in them, one
can further distinguish a number of sub-divisions:

E2 consist of E2a (bars 17-19d, with a cadence
in Bbmajor)
and E2b (bars 19-21d); similarly, E7 is also divided by a cadential
formula.

Material from the subject and the counter-subjects is
prominently present in the episodes. If, for easier reference, one
calls the subject's first subphrase with its ornamented broken chord "a"
and the third one with the slurred pairs "b", then the following
design can be made evident:

E1

contains a two-bar motive based on a variation
of a with a one-bar extension (see M: bars 9-11d, sequenced in
11-13d). Its counterpart is also based on a which is preceded
here by a long syncopation. The direction of the sequence in the middle
voice is falling while that in the upper voice is rising; the overall
effect is thus one of suspended tension.

E2a

combines the entire second half of the subject
(compare M: bars 17-19d with bars 3-5d) with a parallel in the lower
voice which, beginning as an extension of the subject, after one bar
gives way to a cadential-bass pattern. As the upper voice is kept in
long note values, this episode segment gives the impression of
extending, in changed voices, the S + cs1 + cs2
combination heard just before, which it rounds off with a cadential
close. The tension in this segment is thus clearly releasing.

E2b

employs basically the same material for a new
build-up. The increase of tension is enhanced not only by the rising
double thirds but, more importantly, by the modulation to the dominant
key F major.

E3a

is based on a variation of a which,
together with its descending sequence and its lower-voice counterpart
in long syncopations, recurs immediately in inverted voices. (Only the
middle voice remains aloof of the thematic processes.) Tension is only
slightly diminishing here.

E3b

quotes b and a before it
concludes in a cadential pattern. The chromatic bass line adds to the
strong release in tension.

E4

is dominated by the declining gesture of b
which, occurring first in imitation and then in parallels, creates a
strong effect of declining tension.

E5

recalls the first three bars of the subject
and its early companions: a in M: bars 44/45 is not sequenced
but imitated (U), while the first two bars of cs2 are shared
between L: bars 45/46 and M: bars 46/47. The tension is rising,
enhanced in bars 46/47 by the ascending lines in U and L.

E6

seems remotely related to E2a. Two bars with b
in the middle voice, long syncopations in the upper voice and the
characteristic cadential-bass pattern in the lower voice create a
strong bond, although the scope of the episode is extended here and
consequently includes modifications. The dynamic representation is a diminuendo.

E7a

is yet another remote variation of E2a, ending
after decreasing tension with a cadential close in C minor on the
downbeat of bar 61.

E7b

contains both b and a,
together with a rising line in the upper voice. It renews the cadential
close in C minor but leaves the upper voice unresolved, thus creating
an open, forward-directed gesture.

E8

is longer than all preceding episodes and the
most intriguing of all. Its first two bars modulate from C minor back
to the home key Bbmajor,
thus creating a strong expectancy for a subject entry on the tonic.
When the lower voice (where one expects the entry, after recent
statements in M and L) begins, in bars 69/70, with a variation of a,
the listener must feel reassured - prematurely, as the immediate
combination with b to a two-bar entity shows. This two-bar
unit, complete with its own accompanying patterns (see M: the
quarter-notes in bars 69-71 and U: the inverted mordent and
syncopation), is then sequenced twice in descending direction. An
extension quoting both a and b and ending with a
cadential close in F major completes this episode. The corresponding
dynamic development is a long and very gradual diminuendo.

E9a

provides yet another false
entry. The combination of a, b, b and a one-bar
complement to a four-bar phrase appears all the more convincing as the
surrounding voices represent CS3 (U) and CS4 (L)
respectively, with only very small modifications.
Dynamically, this episode segment thus represents the same curve as
built in the subject entries.

E9b

contains, in the lower voice, a two-bar
quotation of a, followed by a descending sequence. Tension in
this segment abides slightly. (These bars can be read as vaguely
reminiscent of E3a.)

E9c

is an exact transposition of E3b and thus
completes the fugue with a continuation of the diminuendo and a
very persuasive cadential close.

The structural correspondence of E3b and
E9c, with or without that of E3a and E9b, is an important factor in the
design of the fugue.

II/21.2.5 Character, tempo, articulation, ornament
realization

The very simple rhythmic pattern, the ornamental concept
of the subject and the comparatively low degree of contrapuntal
activity all indicate a playful fugue of basically rather lively
character. The tempo may be fairly swift; feeling a whole-bar pace
brings a good result, but care should be taken that the slurred pairs
retain their traditional "active-passive" or "heavy-light" patterns and
do not sound hammering. The relative tempo of the prelude to the fugue
should establish a proportion between the larger beats:

Articulation includes non legato for the
quarter-notes and other longer note values, a crisp quasi legato
for the eighth-notes outside the slurred patterns, and true legato
for the marked note-pairs in the second half of the subject. Note,
however, that Bach indicates these slurs only once. According to the
conventions of Baroque performance practice, it was the interpreter's
responsibility to act accordingly in all corresponding cases. Such
cases include analogous note-pairs in all further subject statements,
in cs2 and in all quotations of b within the episodes.
(Special care should be taken in note pairs which are not
slurred; mix-ups happen easily and result in confusion for both
listeners and performers.) In the subject, the
fourth jumps at the beginning of the third and fourth bars respectively
are separated by phrasing and must therefore be distinctly detached.
Similarly, quotations of b in episodes must be separated with
the same phrase cuts.

(Here are some of the instances
outside the subject statements themselves where phrasing is easily
overlooked; all indications refer to the first two eighth-notes of a
bar:

bar 17 [L]

bar 18 [M]

bar 36 [L]

bar 39 [L]

bar 52 [M]

bar 58 [U]

bar 61 [L]

bar 70, 72, 74, 75 [L]

bars 83/84 [M]

In the following cases,
however, the first two eighth-notes in the bar must be linked, due to
their harmonic connection as suspension / resolution:

bar 19 [U]

bar 20 [L]

bar 37 [M]

bar 39 [M]

bar 51 [M]

bar 59 [L]

The score contains only one ornament, a
mordent in the lower voice of bar 26 which is notated in brackets. If
played, it begins on the main note and contains a single three-note
shake. As it bears no melodic or structural relevance and is not even
imitated, it can easily be omitted without loss for the composition.

II/21.2.6 The design of the fugue

The entering order of the subject
statements, the cadential closes within the episodes and the
introduction of two new contrapuntal companions from bar 32 onwards
make the design of this fugue very obvious. There are three sections.

Section I encompasses the two initial statements, a
bridging episode (E1) and the third entry followed by a cadential close
in the home key (E2a). The second half of the same episode then
represents a "change of mind" in that it undertakes a new start with a
modulation and thus prepares for a redundant statement. Thereafter, a
slightly longer episode with two dynamically decreasing segments (E3)
completes this section with a strong cadential close in the dominant
key F major. With regard to material, this section is unified by the
exclusive appearance of cs1 and cs2 as companions to
the subject.

The beginning of section II is marked by the
simultaneous introduction of the two counter-subjects CS3 and CS4
which stay with the subject thereafter. The section contains three
subject statements, linked by short episodes and completed by a passage
which takes up the first, aborted cadential close of the fugue (compare
E6 with E2a), concluding here in Eb
major, the subdominant key of the fugue. The fact that this cadence
remains unresolved in the middle voice ties the second and third
sections together. This impression is reinforced by the use of the same
contrapuntal material for both sections, in contrast to the first
section.

The third section consists of three statements
separated by long episodes. The observation that the third statement is
redundant (it repeats an upper-voice entry), together with the
recognition of a "false" lower-voice entry in the preceding episode
(E8), leads to the assumption that section III is built along the same
lines as section I, i.e. as a disguised recapitulation.

The table below shows the entries and their keys.
For a sketch showing the entire design of the fugue in Bb major see ex. 36.

II/21.2.7 The overall dynamic outline of the fugue

This is a playful fugue in which powerful build-ups
of tension are not the issue. The alternation of subject statements and
slightly lighter episodes determine most dynamic processes. Additional
developments are created by the dynamic gesture of each episode and by
the change of mode in the subject statements.

Within the first section, the tension rises from a
graceful but not too subdued beginning through three subject statements
and a bridging episode. It subsides during the cadential close of E2a,
only to be picked up immediately and brought to a first climax in the
redundant lower-voice entry which, owing to its pitch position a fourth
below the previous one, gives the (deceiving) impression of a
fourth-voice entry. The seven-bar long E3 provides a gradual relaxation.

Section II begins, despite its one-bar long rests in
the upper and lower voices, in a more assertive color as the subject is
now enhanced by the slightly more independentnew
counter-subjects. Despite a dynamically diminishing episode, the second
entry maintains the elevated tension, mainly because of its very
exposed pitch position in the highest register of the Baroque keyboard.
The next episode with its increase then provides a powerful preparation
to the first minor-mode statement in this fugue which, due to the
particular character of the subject, is for once much heavier and more
powerful than the original in the major mode. The tension then subsides
in the final episode of this section.

Section I

MU
L

Bb majorF major
Bbmajor

= tonic= dominant = tonic

}

main round of entries

L

F major

= dominant

redundant entry

Section II

M
U
L

F major
Bb major
G minor

= dominant
= tonic main round of entries
= tonic relative

}

main round of entries

Section III

M
U
(L)

Eb major
C minor

= subdominant
= subdominant relative
(fake entry in episode)

}

main round of entries

U

F major

= dominant

redundant entry

The first entry of section III combines
the parallel motion of cs2 (extended here to two bars and even joined in bar 55 by a third parallel in the
lower voice) with the two counter-subjects. This statement can thus be
interpreted as representing the climax of the fugue. The inverted curve
of E7 leads to another minor-mode statement which, also reinforced by a
cs2-parallel in its first bar, picks up the high tension of the
previous statement with slightly different means. The long episode E8
with its false subject entry then provides a very gradual relaxation.
It is into this considerably lowered tension that the redundant
statement makes its entry - much softer than its predecessors, last but
not least because its first two bars are conceived in reduced ensemble.
The first segment of E9 thwarts an immediate decline of the tension,
but the final eight bars of the fugue lead to a completely relaxed
ending.